The Reviews

The Orange County Register

"SMOKEY JOE'S CAFE - THE MUSIC OF LEIBER AND STOLLER'

When: Through June 26. 7:30 p.m. Tuesdays-Thursdays, 8 p.m. Fridays, 2:30 and 8 p.m. Saturdays, 2:30 and 7 p.m. Sundays

Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd., La Mirada

How much: $32-$40

Length: 2 hours

Suitability: All ages

Call: (714) 994-6310

Online: www.lamiradatheatre.com

ENTERTAINMENT

Friday, June 17, 2005

"Cafe' serves up some of best songs in pop

La Mirada's staging does justice to Leiber and Stoller's vast catalog.

By ERIC MARCHESE Special to the Register

It's sometimes hard to fathom the sheer volume of the pop-rock songs written by Jerry Leiber and Mike Stoller. Their ears perfectly attuned, they began by writing for Elvis Presley, the Drifters and the Coasters in the early "50s, and their fame carried them well into the "60s as they wrote for Aretha Franklin, Ruth Brown, Peggy Lee, LaVern Baker, Steve Lawrence and Perry Como, to name a few.

Leiber and Stoller's songs were not only finely crafted; they captured the essence of a wide variety of rock subgenres, from close-harmony guy and girl groups to doo-wop, rhythm-and-blues, gospel, Motown, bubble- gum, country Western and romantic ballads.

If this dynamic duo's output were minimal, or their work ho-hummingly homogeneous, a revue like "Smokey Joe's Cafe" would fall flat. Instead, it showcases their talents and, with 42 of their songs, offers an ample sample of some of their underexposed numbers, along with hits like "Stand By Me," "Poison Ivy," "Fools Fall In Love," "Hound Dog," "Jailhouse Rock," "Love Potion #9" and "On Broadway."

In McCoy Rigby Entertainment's new staging, director Glenn Casale and his talented ensemble of nine bring a decided amount of heat to every song - some of the numbers flat-out sizzle, while others quietly simmer.

The show, subtitled "The Music of Leiber and Stoller," is billed as a revue, but with no commentary and practically no dialogue, the emphasis is on the songs themselves, and the song-and-dance skills of the cast.

As such, "Smokey Joe's Cafe" is really more of a Leiber and Stoller concert. With Casale and company at the helm, it's also a tribute to the songwriters' place in rock "n' roll history.

The show's nominal star is DeLee Lively, who scores in her opening solo, "Falling," with an authentic, "50s pop- rock female vocal sound that blurs the lines between black and white singers, using a bedrock of soul to express exultation.

Yvette Cason brings sassy style to "Fools Fall in Love," done as upbeat despite its pensive, self-deprecating lyrics, then reprises the song as a bluesy cocktail- lounge number. Cason also has attitude to spare in several numbers, notably "Saved" and "Hound Dog."

Toting a red boa, Darlesia Cearcy creates a playfully sexy persona and distinct Motown sound with her delivery of "Don Juan," returning as the same "character" for a sultry delivery of the surprisingly frank "Some Cats Know."

In her patented Patsy Cline vocal delivery, Christa Jackson offers an introspective, then driving, "Pearl's a Singer," a tale of woe about dreams unrealized, and the equally moving "I Keep Forgettin'."

Using a soulful, Billy Ocean-style and a pungent falsetto, Lawrence Cummings shines in the rich monologue "I (Who Have Nothing)" and the sweetly poignant "D.W. Washburn." For "Treat Me Nice," he mixes his own style with that of Elvis.

David Jennings achieves an aching, plaintive tone in "Love Me/Don't," and when Jackson joins him, the pair generates heat and sizzle. Hassan El-Amin has a joyous charisma in several numbers, and he and Cearcy have genuine chemistry in the slow, sensual duet "You're the Boss." In solos and group numbers, Ron Kellum and Brian Lane Green prove as multifaceted as their cast mates.

Humor is a strong suit for Casale, who creates a jocular tone, and matching comic business, for "Searchin'," "Dance With Me," "Loving You," "Teach Me How to Shimmy," "Yakety Yak," "Charlie Brown" and "Little Egypt," to name a few. Topping this list is "Shoppin' for Clothes," during which three headless men's suits come to life and begin dancing.

Choreographer Jeffrey Polk's dance steps create visual appeal - notably in a measured, sensuous "Spanish Harlem" (actually written by Leiber and Phil Spector) magnified by a balletic pas de deux Polk has designed for Cearcy and Kellum. Musical director Brad Ellis, who conducts a seven-piece orchestra from onstage, captures the essence of each song, giving several tunes - "I Keep Forgettin'," "Keep on Rollin'," "Pearl's a Singer"- two personalities, starting out at measured tempos before kicking it into high gear.

The show's vocal harmonies and varied instrumental flourishes are distinctive and pleasing. Casale and Ellis' approach carves this staging's character - smoldering and, more often, smokin'.

Freelance writer Eric Marchese has covered entertainment for the Register since 1984.

BACK STAGE WEST

"Smokey Joes Cafe" presented by McCoy Rigby at the La Mirada Theatre for the Performing Arts, 14900 La Mirada Theatre, 14900 La Mirada Blvd., La Mirada. Tue.-Thu. 7:30 p.m., Fri. 8 p.m.,Sat. 2:30 & 8 p.m., Sun. 2:30 & 7 p.m. Jun. 11-26. $32-40. (714) 994-6310.

West

Southern CA June 16, 2005

Smokey Joes Cafe

Reviewed By Eric Marchese

Smokin', sizzlin,' or scorchin', there's no denying that many of the songs of Jerry Leiber and Mike Stoller carry considerable heat, especially when performed live. A tribute to the talented twosome's legendary catalog of rock "n' roll songs, this aptly titled revue is really more of a concert—42 songs in all, with no spoken commentary or dialogue. During the mid-20^th century birth of rock, the duo churned out some of the genre's biggest hits, writing songs for Elvis, Aretha Franklin, Peggy Lee, The Drifters, and many

more.

The show's order of songs is logical, creating natural segues. The whimsical "Yakety Yak," for example, is followed by "Charlie Brown," in a similar vein. Humor is a strong suit for director Glenn Casale, who finds ways to create visually funny images that complement the music and lyrics: During "Shoppin' for Clothes," three mens suits come to life and begin dancing with Lawrence Cummings. Brian Lane Green asks DeLee Lively to "Teach Me How To Shimmy"—and does she ever. Ron Kellum asks one girl after another to "Dance With Me," repeatedly striking out, until he reaches Yvette Cason, who would rather pair off with Hassan El-Amin. Darlesia Cearcy,

Christa Jackson, and David Jennings complete an ensemble loaded with song-and-dance talent.

Casale's skilled production team includes musical director Brad Ellis, who conducts a seven-piece orchestra from onstage; choreographer Jeffrey Polk; costumers Larry Watts and Tom Phillips; makeup-, wig-, and hair designer Judi Lewin; and lighting designer Tom Ruzika. The show seems designed to impress us not only with the breadth of Leiber and Stoller's output but also with its depth: Within a two-hour span, the sounds range from R&B and country-western to Motown, bubble-gum pop, and romantic ballads. The women are spunky and sassy and the men loosey-goosey, romping through the fluffy tunes and providing substance to the serious ones. In both styles, they've turned up the temperature a few notches and kept it there.

WHITTIER DAILY NEWS

Whittier Daily News - STAGE

A "Smokin" good time

By Frances Baum Nicholson, Correspondent

Can one imagine songs which characterize their era more than "Jailhouse Rock," "On Broadway," "Love Potion #9" or "Stand By Me"? How about "Spanish Harlem," "Yakety Yak" or "Kansas City"? What becomes perhaps the most surprising is that one team of songwriters wrote all of those, and more enough to populate any oldies radio station.

This is not news to anyone familiar with "Smokey Joe's Cafe," now at the La Mirada Theatre for the Performing Arts, under the auspices of McCoy Rigby Entertainment. The longest-running musical revue on Broadway, "Smokey Joe's Cafe" celebrates the music of Jerry Leiber and Mike Stoller, taking a good chunk of their songbook and turning it into a sort of story line.

Vibrant and sweetly nostalgic, the show proves a wonder both because of the quality of performance and the wild variety of songs two men could write over a career.

The entire nine-person ensemble, each of whom has impressive credentials, proves astounding. Called upon to dance with intensity and skill, and sing old fashioned rock and roll in a way that will vibrate the back wall, none disappoint.

Standouts are almost impossible to pick, but surely include DeLee Lively, who returns to the role she originated on Broadway in 1994 and can still shimmy with the best of them, and Darlesia Cearcy, who infuses all her moments with personality and wit.

Yvette Cason and Christa Jackson also sing with tuneful, sometimes fierce intensity. Lawrence Cummings, Hassan El-Amin, Brian Lane Green, David Jennings and Ron Kellum offer a diversity of styles and personalities which fit the equally diverse sorts of

songs, yet come together to bring energetic unity to the bigger ensemble numbers.

Director Glenn Casale is in his element, taking Gary Wissman's bits of set and twining his performers around pillars, through arches, and into scenarios which help make the music come alive.

Jeffrey Polk's choreography proves at once fresh and reminiscent, often funny, and a big factor in the seamless movement of the piece from one song to the next. The whole thing moves constantly, just as rock and roll is supposed to do.

"Smokey Joe's Cafe" is not deep, but sometimes that's exactly what one goes to the theater for: an escape from the deep things in life. What one gets is lively song and dance, and a good load of nostalgia and humor. That's the kind of evening where everyone leaves the theater with a smile, with a few so caught by the energy they try a dance step or two. Not a bad way to start the summer.

Frances Baum Nicholson is an Altadena freelance writer

06/17/2005 08:04 AMU-Whittier Daily News - STAGE